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Almost two years ago, UK rockers Syren City laid a hefty punch on attention with the Escape EP, five tracks of multi-flavoured rock ‘n’ roll which was as compelling as it was thrilling. Now the Bristol quintet returns with its successor Paradise In The Dirt and three more encounters which leave ears ringing with pleasure and an appetite for more simply greedier.

Formed in 2011, Syren City swiftly bred a sound from essences drawn across the likes of post hardcore, punk, metal and alternative rock. The 2014 Escape EP quickly showed it was a formidable and striking mix, echoing the band’s live reputation earned through festival appearances and shows with the likes of Turbowolf, The Alarm, Mallory Knox, Max Raptor, The Hell, Roam, Black Foxxes, Futures, Young Legionnaire, Attack Attack, and Blitz Kids. The release of their new proposition shows that the band’s sound has continued to expand and indulge in greater adventurous traits, increasing in magnetism with equal measure. The first in a series of EPs which have a conceptual thread and link, Paradise In The Dirt captures ears and imagination with swift deftness of enterprise and a rousing boisterousness, never relenting upon or releasing the listener until its final note has shared its mighty bait.

It opens up with It’s Morphine Time, a song which descends on the senses like a tempestuous challenge from its first breath, but a threat just as quickly seducing ears and appetite as riffs and rhythms launch their hungry persuasion. In no times wiry grooves are entangling song and listener while anthemic vocal roars across the band find a great Beastie Boys feel to them. As it proceeds, the scent of bands such as Rage Against The Machine and Refused also colour the encounter, with frontman Simon Roach taking vocal charge as the barbarous rhythms of bassist Sam Leworthy and drummer Mat Capper badger and incite. It is a virulent infectious affair with the enterprise and fiery grooves of guitarists Ian Chadderton and Josh Mortazavi arousing, aiding and shaping the songs twists and turns as its metal/heavy rock antagonism and inescapable catchiness fuels pleasure, the song alone surely ensuring the EP’s certain success.

It is quickly backed up by its companions though, Danielle coming next and opening on a melodic caress which inspires the following vocals and flirtatious gait of the song. Little time passes before again a volcanic quality and energy erupts, its theatre creating a My Chemical Romance like attraction before things slip back into the captivating calm and the repeat of the galvanic cycle. As within its predecessor, there is a kind of tempestuousness to ideas and intensity which only adds to the riveting drama provided before 10,000 Knives steps forward to grab its share of the plaudits. Initial riffs and lures have a slight Therapy? feel before the punk heart of band and song grips and adds a Reuben meets Taking Back Sunday hue to the outstanding encounter.

All three tracks are uniquely distinct to each other but fuelled by a sound with a character all Syren City’s. The band impressed with their last release and have only made a bigger impact with Paradise In The Dirt, a release sure to be the favourite EP of 2016 for a great many.

Speed Won’t Cut It is a mighty roar to get you to your feet, incite a closed fisted punch of the air, and arouse the spirit to stand defiant and proud. It is also the new irresistible punk incitement from UK punks Juno, a band just bubbling under finding major attention for a while now but now giving it an almighty nudge with their latest four-track EP.

Formed in 2008, the Leeds band sparked keen interest with their debut release We are Juno. A trio initially, they expanded attention and their line-up by the time of second EP Set Sail in 2009. A short break followed before a new head of stream saw the band return with the acclaimed Counting Backwards Causes Explosions EP. It was six tracks of boisterous rock ‘n’ roll which with its 2012 unleashing, drew a host of new fans and led to the band signing with The Animal Farm and the release of its successor Answers a year later, a proposition which eclipsed its predecessor in sound, persuasion, and success. Aligned to a potent live presence and craft which has seen Juno share stages with the likes of Summerlin, ACiD DROP, The Roughneck Riot, Twenty Twenty, Blitz Kids, Forgotten Roots, Adelaide, The Afterparty, Page 44, Failsafe, The Headstart and many more, the foursome of lead vocalist/guitarist Rob Kirk, lead guitarist/vocalist James Duncan, bassist/vocalist Ben Rowe, and drummer Matt Grum are now ready to pounce on full nationwide recognition without stopping at those boundaries and it all starts with the highly tempting Speed Won’t Cut It.

Merciless hooks and swinging melodies have always been a part of the band’s punk ‘n’ roll offerings but alongside the band’s energy, all have gone up the gears within the new EP. It opens up with new single/video Last Dance, a track which ensures its invitation is quickly taken by feet. It is pure contagious punk rock with a flavoursome touch of AFI to it, though it quickly enforces its own lively character upon ears and imagination. With busy rhythmic bait and fiery guitar enterprise backing up Rob’s anthemically leading vocals, it is gripping stuff and just the start of the voracious revelry to follow.

Will I Be Free steps up next, immediately offering attitude in its riffs and jabbing beats. That continues into the quickly established canvas of jagged guitar tempting and band harmonies, Rob’s voice the ringleader as Ben’s bass prowls deceptive calms before one incendiary chorus. As with the first track, you cannot claim that Juno are re-inventing punk rock but few songs and indeed bands have set ears and emotions alight as effortlessly and rousingly recently as Juno in their first two songs on the EP alone.

Across the tracks the luring of physical participation from voice and body is inevitable and continues with the swinging stroll of Sirens. An arguably less imposing encounter but no weak link in stirring up spirit and thick enjoyment, the song bounds along throwing hooks into a gripping sonic resourcefulness to, like the Pied Piper, tantalise and seduce ears and spirit.

Speed Won’t Cut It ends on its biggest high and the mighty call to arms of Face Our Demons. Like a melodic punk version of Stiff Little Fingers, the track makes thick nudges on thoughts and emotions as its web of guitar tenacity and rhythmic pugnacity aids the song’s inescapable rebel rousing. The track is glorious; an inflammatory slice of intense punk ‘n’ roll which by its unstoppable and virulent finale, is sure to have the listener standing tall and yelling enough is enough to those and things which have taken advantage and more. It certainly did here.

Juno songs have a social and emotionally political aspect to their words which seems to further fire up the sounds around them and in turn the listener. It is a balanced weave though, which makes Juno easily stand out from similarly intense propositions whilst providing a hell of a great time, as proven by the must have Speed Won’t Cut It.

Inspirations to UK band Kill The Silence are said to include the likes of Lower Than Atlantis, Bring Me The Horizon, and Reuben and it is the latter which most comes to mind as the band’s debut release sets about inciting an excited appetite for their sounds. The self-titled EP from the Leeds quartet is an explosive roar of imagination and fierce energy with potential oozing from every idea and twist whilst an already nurtured enterprise simply floods the four-track rampage. Release and band straight away stirred up a bloom of pleasure in ears and emotions but now after numerous excursions across its raging sonic rapids it is fair to say that responses offered now come with a healthy dose of lust.

Kill The Silence emerged in mid-2013 and it was not long before their ferocious mix of alternative rock, post-hardcore, and melodic metal was earning invites to play shows and appearances at festivals. The time since forming has seen the foursome of vocalist/rhythm guitarist Jason Walsh, lead guitarist Sam Rickerby, bassist Jack Townend, and drummer Reece Cockayne play with bands such as Fearless Vampire Killers, Blitz Kids, Max Raptor, The Family Ruin, Attention Thieves, Ashestoangels, Yashin, Mallory Knox, The Defiled, Dinosaur Pile-Up and Rolo Tomassi across the north of the UK. Now the whole of Britain is their target and it is easy to suggest that their first EP just might be all it needs to push the band into the broadest national spotlight.

The EP opens up with the band’s current single Get Out, Get Out! and swiftly has ears engaged in a blend of riffs and melodies. It is a raw introduction mellowing out with the clean vocals of Walsh who in turn reveals his prowess at offering raucous throat bred squalls and angst hued harmonies. His delivery is nothing less than impressive, something applying to all elements of the band to be fair. Bleeding addictive citric grooves and disorientating rhythms, the track continues to explore a widening expanse of rock music for a potent start to the EP, though the song is the ‘weakest’ on the EP for personal tastes with the major excitement and might of Kill The Silence coming in the following trio of tracks.

Darling is next and from a muffled rhythmic shuffle explodes into an intimidating blaze of sonic ferocity and vocal hostility, both soaked in instant anthemic persuasion. The track proceeds to lurch and scythe through the senses with its volatile animosity and virulent contagion, that Reuben spicing a loud whisper in the tempest of punk and metal with melodically lined rock ‘n’ roll. The searing and psyche seeded hooks of the song are irresistible on top of this whilst the sheer energy and passion of the band is fuel to its voracious fire and indeed ire.

The major inciting of ears and emotions continues just as forcibly with S.S.D.D, its opening prowl of low key but suggestive riffs courted by a nagging single-minded bait of beats. There is a menace and intensity to the track from its first breath too, one slowly brewing up a storm which erupts in a web of riffs and cantankerous rhythms driven by rawer but no less magnetic vocals. The muscularly swinging beats of Cockayne dominate the sound in some ways, a very small niggle over the production there, but it only adds to the confrontation and explosive character of the outstanding song. Though again openly infectious, the song is a predator, from voice to beats, riffs to barbarous hooks, it looks to challenge the senses as it takes the EP up another level.

It is a step soon outshone by the best song on the release in Chapter II. A waspish groove almost instantly emerges to seduce and bind ears and appetite, springing from a bracing bluster of guitar and bass aligned to again wickedly swung beats. It is a toxic and intoxicating lure buffeted by another strong variety of vocals and the tempestuous heart of the dirty and ravenous song. Drawing on the most metal honed and carnivorous aspects of the band’s sound, the track equally entangles catchy pop rock and melodic ferocity into its tempest, creating a song the Reuben boys would have been more than proud of.

The EP is a seriously exciting and attention stealing introduction to Kill The Silence, the first of many impressive and incendiary offerings ahead we suspect as they do indeed spark a pungent nationwide spotlight on their blistering sound and presence.

The Kill The Silence EP is available from April 20th through all stores.

Taking from a collection of influences, spanning from Reuben and Lower Than Atlantis to Bring Me The Horizon, Kill The Silence come at you from Leeds and nationally release their self-titled debut EP on Monday 20th April through all digital stores.

Reece Cockayne (Drums), Kill The Silence were officially formed during the middle part of 2013. Show invites and festival appearances soon began to take shape. To date, the foursome have played extensively through the north, rounding up support slots and festival appearances with Fearless Vampire Killers, Blitz Kids, Max Raptor, The Family Ruin, Attention Thieves, Ashestoangels, Yashin, Mallory Knox, The Defiled, Dinosaur Pile-Up and Rolo Tomassi. The hi-octane rockers have also picked coverage from BBC Introducing and internet radio, and have been featured as Kerrang!’s Local Heroes.

The time is now ripe for Kill The Silence to step up and reach out to a national audience, and the band have the right tools in the shape of their new EP. The juggernaut rhythms and soaring chorus of their current single ‘Get Out! Get Out!’ start up the record, and it’s a perfect introduction for the wiry quartet. The punchy grimy hardcore of ‘Darling’ is next up and it’s an engrossing slab of adrenaline fuelled punkcore. The pounding onslaught of ‘S.S.D.D.’ continues to batter your eardrums before ‘Chapter II’ caps off the EP with its blistering riffage bonded with oft-kilter phrasing. Kill The Silence now hit the road with their record in tow, so stay tuned to their social sites for tour announcements.

-KILL THE SILENCE RELEASE THEIR SELF-TITLED DEBUT EP ON MONDAY 20th APRIL THROUGH ALL STORES-

It is hard to supress a roar of frustration and disappointment when after enjoying a new and thrilling encounter from a band with all the tools and sounds to be a major presence in British alternative rock, they announce ‘on the eve’ of its unveiling they are to be no more. That is what has happened with Bristol quartet Oh Captive. Just a couple or so weeks before new EP Two Mirrors is released to light up ears and appetites, the band announced it had called it a day, though it might emerge to be more an internal evolution resulting in a name change and new direction rather than a full departure. Time will tell but whatever the outcome, they leave behind two impressive releases and a collection of vibrant and inventive songs, their latest the most captivating yet.

Formed in 2012, Oh Captive swiftly lit their local music scene and subsequently set about the whole UK scene with their energetic live presence, playing with the likes of Sonic Boom Six, UK Subs, Straight Lines, Max Raptor, Sharks, Blitz Kids, I Divide, Fighting With Wire, and Scholars along the way. Their sound has drawn comparisons to the likes of Biffy Clyro and Twin Atlantic, open and potent spices in the band’s debut EP Advance Creature, which was released in the March of 2013. It was a stirring and dynamic offering rippling with a potential which has been realised with sizeable success within Two Mirrors. The past year has seen Oh Captive supporting the likes of Marmozets and Arcane Roots, and make highly successful appearances at festivals such as Leopalooza and New Age, whilst media attention has grown as potently too. Now it may be over, but if so the band has gone out with a bang and ensured attention for their next exploits will be eagerly attentive.

Two Mirrors opens with Recover, an instant ear grabbing proposition as vocalist Tim Kelly and a tangy rub of guitar combine a minimalistic but highly tempting bait to bring the song into view. It is not long before the heavy throated bassline of Tom Hitchins and the punchy beats of drummer Chris Hill leap in, accompanied by sonic flames cast by the guitars of Curtis King and Kelly. Immediately there is a drama to song and sound, light and dark textures colluding in an imposing but inviting web. Settling down a little for the continuation of the narrative from Kelly, the song increases its lure as it builds to energetic crescendos and an anthemic chorus. There are no major surprises in the melody soaked track but there is a bold invention to match its gait, which leaves expectations and predictability absent protagonists in the outstanding encounter.

The impressive start is backed with similar strength by Motion / No Motion. The second song is a rhythmically raucous stomp from its first breath with Hitchins offering a magnetic lure of a bassline. It is a dark coaxing surrounded by the concussive stick ability of Hill, a thick drawing of attention never wavering even as they are immersed in the sonic and melodic blaze of the guitars and the ever impressing tones of Kelly. There is something missing compared to its predecessor though, a small element just stopping it drawing the lustier satisfaction bred by Recover, but nevertheless the song has feet and imagination leaping in tandem with its resourceful enterprise.

Live Fast Don’t Last explores more of a croon for its creative shape and emotive intensity next. It has a slower flow and a more immersive canvas than the last songs with melodic tenacity and evocative expression from the vocals providing a deeper reflective colour and emotion to the encounter. It smoulders and tempts pleasingly as it shows another side and depth to the band’s songwriting and its creative realisation, though again cannot quite emulate the success of the first track and indeed its successor.

The EP’s title track brings it all to a lively and impressive close. Two Mirrors bounds along with another invitingly dark bassline aligned to eagerly swung beats, whilst their union is drenched in an anthemic energy and charm which the band seems to conjure at ease. Veined by richly enticing and tenacious guitar craft, the song makes a pungent end to a fine and enthralling release. If this is to be the end of Oh Captive, song and EP has seen them go out on a high and will leave fans saddened and newcomers kicking themselves for not discovering their promise and quality before.

The Two Mirrors EP is available from March 23rd through all digital outlets.

Seemingly labelled as post hardcore, UK rockers Syren City has a sound which almost defies tagging as it employs a wealth of rich flavours such as punk and metal through to alternative and hard rock, and that is still only scratching the surface. It makes for a rousing incitement as evidence by their new EP Escape, a release which is best described as one almighty roar. Consisting of five tracks which twist with the flair of a pole dancer and has more moves than a senses ravaging roller coaster, the band’s new proposition is quite simply a ferociously compelling and thrilling adventure.

Hailing from Bristol and formed in 2011, Syren City took little time to light up venues around Wales and England, supporting the likes of Turbowolf, The Alarm, Max Raptor, Futures, Young Legionnaire, Attack Attack, and Blitz Kids, whilst festival appearances has seen them share stages with bands such as Brand New, Don Broco, We Are the Ocean, Mallory Knox, Kids in Glass Houses, and Feed The Rhino. Their live performances and their impressive portion of a split EP with fellow Bristolians and metalcore band Koshiro, has led to keen anticipation for Escape, an appetite fully fed by the impressive collection of contagious anthems.

The band hits top gear straight away with opener Bleed. It is a rampage of a song, heavy hitting and rigorously coaxing rhythms from drummer Louis Catlett aligned to the throaty lure of Adam Armour’s bass, an irresistible entrance soon enhanced by the scything riffs and chords provided by guitarists Ian Chadderton and Adam Hopton. Instantly there is a feel of Foo Fighters to the muscular persuasion which increases as vocalist Simon Roach reveals his strengths. With gripping backing vocals and shouts adding to the incendiary array of hooks lining the charge, there is also an essence of Max Raptor and the now defunct Always The Quiet Ones to the stomp though all mere spices to something openly distinctive to Syren City. The track continues to set a fire in ears and emotions, its unpredictable invention and side steps in its imaginative emprise as swiftly addictive as the face on tempest of aggression and melodic enterprise.

The stunning start is followed by Our Disease, another track taking mere seconds to seduce senses and passion with its vocal bellow. This bait leads into a punkish antagonism in voice and sound before it in turn evolves into a hard rock stride. As it predecessor, the song mixes up gait and attack with seamless and skilled resourcefulness, never relinquishing its grip on ears and imagination with its increasingly catchy and enterprising temptation. It does not quite match the opening triumph, due to the majesty of that song, but easily ensures that the EP continues to inflame body and emotions as does its successor Fire In Your Name. The third song unveils an enticing sonic groove straight away which rapidly makes way for the potent lead and backing vocal mix, before returning to bind a stroll of punchy beats and raw riffs. As with most songs, that earlier mentioned post hardcore essence is a rich colour to the canvas of the track, but as with all it comes soaked in variety and diversity, melodic hues and a metallic sonic veining adding to the pop punk seeded emotive howl of the song.

The treats keep coming as Long Way Down enters the affair next. The blend of raw and aggressive confrontation within Roach’s predominantly melodic coloured vocals alone make a rigorously enticing offering whilst grooves and hooks in the heavily swinging tempest of the song, only add to its addiction sparking tendencies. The track shows a more savage side to the band’s sound and songwriting whilst still embracing their melodic natures; providing yet another highlight before final song Asphodel brings it all to an infectious close. Revelling in a hard and melodic rock web of enterprise, the song bulges with rhythmic sinews and fiery sonic endeavour whilst vocally Roach impresses once more as does the contributions of the band in the same department. At times raging with nostrils flaring and in others an evocative croon, the track is a mighty end to a similarly impacting release.

Escape is a riveting encounter from a band easily living up to the buzz around them whilst even in its impressive presence and success, revealing the potential for much more in Syren City.

Disregarding the deceptive label of post punk seemingly placed upon them, certainly on the accompanying promo sheet, what UK’s Oh Captive actually cast is a magnetic brew of pop punk and alternative rock around a rigorous spine of muscular melodic rock. Presented on their debut EP Advance Creature, the band’s sound it’s an exciting blend of passion and sonic textures drenched in striking craft and undeniable potential. It is a release which sparks fires in the emotions though not always retaining the same intensity, but from start to finish provides a fuse to the imagination and ignites a keen appetite for Oh Captive now and in the future.

The Bristol quartet emerged in 2012 and took little time is awakening an eager following locally before last year striking out around the country with bands such as Sonic Boom Six, UK Subs, Straight Lines, Max Raptor, Sharks, Blitz Kids, I Divide, Fighting With Wire, and Scholars. Comparisons to the likes of Coheed & Cambria and Twin Atlantic have fallen upon the band over time, comparisons relatively easy to understand listening to their four track debut.

The release opens with Beds Of Many Ghosts and immediately has ears entangled with enticing melodies, crisp rhythms, and a coaxing hook which lays down the first seductive bait. Settling into its confident stride, the track relaxes around the vocals of guitarist Tim Kelly but all the time is creating a virulence of hooks courted by an emerging groove. It is a striking narrative coloured further by thirsty shadows provided by bassist Tom Hitchins and the guitars of Kelly and Curtis King which weave a provocative and contagious web of enterprise. The song is an irresistible encounter, one which has a familiar air to it in many ways but steps beyond that security with bold imagination and a thoughtful swinging design from the impressive rhythms of drummer Chris Hill.

The excellent start is swiftly supported and matched by Terrible Lives. The track again shows no restraint in unleashing contagious hooks and evocative melodies around a persistent rhythmic beckoning which frames the fine tones of Kelly ably supported by those of King. The song teases with guitar and rhythms alone at times; the bass held in reserve but once involved in the suasion opens up the depths and darker textures of songs and songwriting. Like the first track, it creates a tapestry of smart twists and turns employing a skilful persistently changing gait evolving the face of the song whilst brewing an almost toxic groove to wrap the track and subsequently steal the show in a quite scintillating climax. Both songs are strongly memorable but the second really gets under the skin with that deviously addictive groove most of all.

The remaining two songs do not reach the stature of their predecessors though both only cement an impressive introduction to the band. The title track steps up next, its tender melodic start courted by a sonic mist before it expands into a rich and evocative blaze of passionate sounds and lyrical reflections. Perfectly balanced and vibrantly poised, the track courts the senses with a masterfully woven venture of dark rhythms and radiant melodies aligned to similarly captivating vocals, and though it does not entrench itself in the memory as those before, its presence only enhances the promise of the band.

The closing Retreat Being reasserts punchy rhythms and almost rapacious sinews to the skeleton of another track which is just at ease crooning at and seducing ears as it is forging a sturdier imposing persuasion. The bass of Hitchins is especially vocal and melancholic in the track to lead thoughts deep into an emotional intensity but as excellent as the song is again it lacks the spark to impact beyond its departure.

Overall Advance Creature is an EP which potently grips thoughts and emotions throughout. It is a striking entrance by Oh Captives, one soaked in a promise which suggests the band is going to have a rosy future whilst providing plenty of exciting investigations ahead.

The self-released Advanced Creature EP is available digitally from April 28th

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The RingMaster

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